PULSE FIELD  Audio Playlist

 

Date:      Saturday, January 18, 2003 - GRAND OPENING

 

Description:  An assortment of selected Recordings aimed at representing what will be transmitted in the coming weeks of PULSE FIELD.

 

 

6:00pm - Part One features historical excerpts:  

  1. ‘Conet Project’,(1950-80) Shortwave radio Numbers broadcast phenomenon (00:56)
  2. W.S. Burroughs ‘We See the Future through the Binoculars of the People’(c.1978), Classic Cut-up experiment  (11:25)
  3. John Cage, ‘Muoyce’ (1984) Writing for the fifth time through Finnegan’s Wake (2:10)
  4. Antonin Artaud excerpted from CD:  ‘To Have  Done with the Judgment of God’; ‘sound effects and my cry in the stairwell’ (1947 ); (1:43)

      5.  Kurt Schwitters, ‘URSONATE’ (zweiter teil:  largo) (1922-32); Schwitter’s work is 

           cited as the precursor to what was later to be called ‘Sound Poetry’

      6.  O.B. & Dewey Jackson, ‘I Shall Not Be Moved/The Old Grey Goose’ (1975) 

Recorded Spivey’s Corner, North Carolina, home of the annual National Hollerin’ Contest (1:16)

  1. Luigi Russolo ‘Risveglio di una citta’ (1913); Early Futurist recording expressing 

the City.  Russolo is the author of the ‘Art of Noise’ the definitive manifesto of the early Avant Garde in Sound.  This is the Birth and acknowledgment of sound as a viable and experimental media leading to ther forms such as Musique Concrete (0:31)

  1. Luigi Russolo ***More of the above recordings (3:22)
  2. Pierre Schaeffer, ‘Cinq etudes bruits’ (1948); The father of Musique Concrete, where sounds from the everyday world are transmuted into composition (3:20)
  3. Marielouise Franke ‘Venezia Exaudi’ (1987); Montage of sound the sound material into a composition follows the historical model of the motet ‘Exaudi, Deus’ from the ‘Sacrae Symphony’ by Giovanni Gabrieli (2:55)
  4. Joan La Barbara ‘Sound Painting Cologne’(1991); Recordings during a visit to the Rhine.  Quote:  “Sound Painting is a painting of then and now and never was”  (2:17)
  5. Mauricio Kagel ‘Nah und Fern’ (1994); Composition for carillon and trumpets in constant alteration with environmental noises of the Dutch city of Utrecht, including motor boats in the canals, footsteps on the steps to the Belltower, and the gears of the carillon in the Oude Kerke (2:53)
  6. Achim Wollscheid ‘Piece for Listener’ Example of recorded /installation work (1:29)
  7. Toshiya Tsunoda,(1999) ‘Discovering the Vanishing Points’; Represents the investigation of sites along the Japanese seaboard (1:43)
  8. Christof Migone ‘Crackers #4’ (1999); Recording of the cracking of knuckles (3:35)
  9. Harry Bertoia ‘#1025 Unfolding’(c.1961); Recordings of air passing through the artist’s sculptures (3:10)
  10. Stephen P. McGreevy, ‘Auroral Chorus II:  The Music of the Magnetosphere’ (1996); Naturally-occurring VLF Radio Phenomena recording.  First heard on long telegraph wires in the 1880’s, these mysterious radio signals of Earth were the first radio signals people ever heard.  (1:30)
  11. "Early in 2001, Dr Stahlgren & Dr Ferguson were asked by Omag Magnetizing Systems to apply their expertise in 'diagnostic sound recording' to various problems encountered in the Magnetic Ink Numbering System used to mechanically sort virtually all of the paper cheques passing through the World Banking Systems today. Having spent over a month recording every aspect of the Printing, Magnetizing, Reading and Sorting process various recommendations where made and the Doctors found themselves with many hours of quite eerie tape recordings capturing, microscopically, the analog details of a process that, even in this digital age, the world economy still relies on. Not wishing the stunning results to go to waste or unheard by the general public, they have (with some artistic license, editing and processing) created this amazing audio journey. It is almost literally the journey of money from your pocket, all the way to the coffers of one of the worlds largest banks." (3:17)
  12. Joe Jones ‘Solar Music at Sierksdorf, Ostsee’ (1984); Joe Jones, a major contributor to FLUXUS, invented and engineered many devices to produce sound.  This recording represents instruments self-propelled by solar panels (i.e. the sun) (3:13)
  13. David Soldier & Richard Lair present:  Thai Elephant Orchestra, ‘RainForest’(2000); Real live elephants playing instruments especially designed for their physiologies.  Surprised?  Hey, they paint too!  (1:44)
  14. Another Conet Project excerpt (0:33)
  15.  Raymond Scott, ‘LIGHTWORKS’(1960); Raymond Scott was an early experimentalist in the realm of synthesized sounds.  A wide and varied career: projects ranging from personal experiments to soundtracks for the Muppets, Bufferin, IBM, and so on…….(1:49)
  16. Throbbing Gristle, ‘Dead on Arrival’ (1978); Genesis P-Orridge & Co.were the undisputed founders of a thing called ‘Industrial Music’ by employing many attitudes from  Futurism, Musique Concrete, and FLUXUS, TG set out to present a Post-Apocalyptic vision via the Post-Industrial landscape(ruins) in the UK (6:04)
  17. More ‘Conet Project’ (1:51)
  18. Milan Knizak, ‘Composition no.3’ (c.1979); Another FLUXUS contributor.  Knizak’s work involved re-cycling, re-playing re-configuring shards of broken LPs. (4:24)
  19. PLUNDERPHONICS ‘Sir Jim Moron’ (1990); manipulation of ALL popular music (and copyright laws) via early CD technology.  Interesting example of how Cut-Up has been passed down and used. (3:39)
  20. One Last Conet Project (0:44)
  21. Raymond Scott finishes off this set with an introduction….(0:11)

 

7:15pm - Part Two features selected PULSE FIELD submissions:

  1. Robert Creely USA, ‘Beep City’ (2001);  Contemporary experiments using vintage instruments (2:51)
  2. Dallas Simpson UK, ‘abha’ (1995/96); Collage/field recording from the seashore to a small freshwater stream flowing out onto the beach (1:43)
  3. Giuseppe Gavazza Italy, (2002) ‘Woodruff 2002’; Intricate recordings of flowing water. (2:52)
  4. Stan Link USA, ‘Were’ (1994);Uses of everyday sounds reflecting a personal experience.  Uses of bells, voices, etc. into a personalized synthetic scape (2:32)
  5. Sabrina Pena USA, (2000); ‘Confessions of a 7-year old Killer’; Narrational Sound Text, Diaristic(4:29)
  6. Janek Schaefer UK,  ‘Evening’ (1999) Architect of FoundSoundScapes (3:54)
  7. Eva Sjuve Sweden, ‘Astro Turf’ (1999); ‘ astro turf’ is a small space, a miniature world, where events are noticed by their sounds.  Astro Turf space can be a grain of dust moving around, moving forward, and continuously changing the size and density of its space.  (2:59)
  8. Cyprian Li China (2000); Uses of vintage synthesizers from an artist from China (3:45)
  9. Susan Alexjander USA, ‘Sequencia’ (1994); This recording relates to the molecular ratios found in DNA
  10. Dennis Tan Singapore, ‘Compact Disc’(2002); The use of a CD is the storage of audio, video or data information.  This is where I have chosen my sound sources to create a new perspective of listening (3:12)
  11. Zoe Irvine Scotland, ‘Magnetic Migration:  Passport Mix’ (2002); This mix is made of fragments found at the migration bottleneck at the Pas de Calais, the French side of the English Channel, where there are major passenger and freight trains, where the EuroTunnel terminal is situated and also where until next month the Red Cross for Asylum Seekers is.  Soundscapes and conversations with travelers are also included (3:30)
  12. Lisa Whistlecroft/Steve Benner UK ‘Uncas pocus’ (1996-98); Intended as a (foreigner’s) sonic portrait of the environs of a small and little-known lake in southern Connecticut USA (3:45)
  13. John Wanzel USA ‘Pear’(2001); Pear is an experimental sound piece for radio that consists of a series of narrative and sonic vignettes.  The piece is concerned in general with how despair and desire effect the creation of a self that is mediated by personal and cultural experience (3:51)
  14. Cristopher Ewing USA ‘Splattercast’(2002); Utilizes the sound of a rubber band, is inspired on one hand by Ilhan Mimaroglu’s ‘Bowery Bum’ and on the other by Jackson Pollock (2:17)
  15. Sawako Kato Japan ‘CRAB’ (2002); Short piece which features future electronic sound and field recording.  The poetics of petite sounds or a sketch with both abstraction and concreteness of expression (3:43)
  16. Maxime De La Rochefoucauld Canada ‘La marais somnabule’(2001); This music is performed by automatons:  mechanized acoustic sculptures animated by inaudible frequencies.  Their oddly organic polyrhythms are orchestrated to produce a ritualistic trance-like music (4:33)
  17. Ian Corbett USA ‘Phimphony, Mvt. 1, “A Momentary Lapse of Disturbance”’(2002); Designed to be a blatant barrage of progressively mutilated sound (or a temporal violation of the cochlea (7:17)